Magnetic North DAY 1: Nevermore

The Magnetic North Theatre Festival opened yesterday evening with an elegant reception at the National Arts Centre, followed by the opening night performance of Nevermore: the Imaginary Life and Mysterious Death of Edgar Allan Poe, a brand new play by Edmonton company, Catalyst Theatre.

If I were to summarize Nevermore a la Book-a-Minute Classics, then it would go as follows:

Edgar

Everyone I love is dying. This inspires me to write morbid literature.

(dies)

THE END

That really is the entire story. And it becomes almost ridiculous, watching character after character waste away before our very eyes – that is until we remember that this is not an exaggeration; this is based on Poe’s life story.

But this production goes far beyond the basic plot of Poe’s existence. It stages a carnival of the grotesque, both delighting and frightening its spectators. Not since I attended a play for young people have I heard so many gasps, sighs, groans, and nervous laughter from an audience. This production inspires a sense of wonder and amazement in its dark fairytale qualities and its ability to use light and sound to send shivers up our spines — even for those of us who see so much theatre that astonishment is a rare reaction. This is much more terrifying that anything Tim Burton has ever produced.

Scott Shpeley / Edgar Allan Poe

Jonathan Christenson is the Artistic Director of the company. He is also the writer, composer, and director of this show. I know — pretty impressive, eh? Usually I have issues with artists that direct their own scripts: but Christenson clearly knows his stuff and has a strong vision. Plus he collaborates quite closely with Production Designer Bretta Gerecke, Choreographer Laura Krewski, and Sound Designer Wade Staples to create this haunting musical production.

The writing is extraordinary. At first I was worried that the rhyming verse would grow tiresome. However the singsong quality combined with the dark subject matter is reminiscent of those stranger Mother Goose rhymes (“and when she was bad she was horrid”), the ones you weren’t told as a child. Fans of Stephen Sondheim might raise their eyebrows at this comparison, but the writing and the music honestly reminded me of the work of that composer; the reluctance to sedate the audience with catchy little ditties; and instead create unusual poetry onstage, unexpected rhymes that sound almost like conversation. Sometimes the music is as simple as a repetitive little piano tune, and sometimes it is as powerful and gripping as the final number in the show. Is there a soundtrack available?

In addition to the beautiful music, the sound design included heavy breathing that became a clear indication of the demise of yet another character. The death of Edgar’s mother as she gasps her last breath in the shadows is one of the most moving and frightening stage moments I have ever experienced.

Among other things, this company is famous for its burlesque-like stage design. The set is a series of horizontal panels that stretch across from stage left to right. The panels can slide from side to side as doors, and they are made of black lace scrim that can be opaque, translucent, or transparent. The costumes were also black lace with hints of white. Some of the women wore large black hats, or cage-like black skirts, partly to reflect the time period (early 1800s) and partly to make strange the characters. Animal characters from his life and from his writing – such as a black cat, a dark horse, and a flock of ravens – also appeared onstage.

Catalyst Theatre's Nevermore

The lighting design was vibrant and diverse: there was an especially memorable strong red background that closed the first act. There was also plenty of side lightning, which made it seem as though we were watching a dance performance.

And it some ways, we were. The production was so perfectly choreographed; not dancing exactly, but very directed movement; as if the characters were playing puppets and puppeteers, moving together with such precision, but without much physical contact. As Edgar Allan Poe, actor Scott Shpeley held his arms at his sides, poised as though always ready to begin writing in his intimidatingly large notebook. He was certainly in the puppet category, which fit quite nicely with his character (s0 deeply affected by his surrounding influences) and his circumstances.

It was interesting how the company chose to deal with the eponymous character: his story was told by a series of narrators who also played the figures in his life (a prize cast of actors consisting of Shannon Blanchet, Sheldon Elter, Beth Graham, Ryan Parker, Garett Ross, and Vanessa Sabourin) and Poe barely uttered a word. But when he did, his voice was so beautiful — reminded me of Mandy Pantinkin with its impressive range and angelic quality. Most sane directors would have had him belting out tunes as often as possible. But Christenson made a risky, yet decidedly intelligent choice of keeping the audience wanting more.

Nevermore only plays until Saturday. Do yourself a favour and see it.